For the Story Teller: Story Telling and Stories to Tell, by Carolyn Sherwin Bailey is part of HackerNoon Books Series.
You can jump to any chapter in this book here . Chapter VI : TRAINING A CHILD’S MEMORY BY MEANS OF A STORY Chapter VI. TRAINING A CHILD’S MEMORY BY MEANS OF A STORY IN the first place, what is the mental process by means of which we recall something stored in the cedar and lavender of our mind chests? As you pass along a crowded city thoroughfare you are suddenly and unexpectedly confronted by an old friend. She steps out of a crowd of strangers and faces you. You recognize her at once as a bit of long-ago, changed with the years a bit but still, in a measure, familiar. You are unable though, for an instant’s space, to recall your friend’s name. In that instant’s pause, however, a mental miracle takes place illuminating for us the process by means of which the human mind brings about a recall of an idea. You clasp your friend’s hand. You look deep into her eyes. You note a similar perfume permeating her clothing that you knew in former years. She speaks to you, and you recognize the old, familiar quality of tone in her voice. Then the miracle happens, and your friend’s name finds its way to your lips. It is Mrs. B——. You had not really forgotten Mrs. B’s name. It had been stored away in a cobweb-hung corner of your mind together with its mental associates; the touch memories of her hand clasp, the odor memory of her perfume, the sound memory of her voice. As you again experience these touch, odor and sound stimuli, Mrs. B’s name rises in their wake like a phœnix long buried in the ashes of forgetfulness. Memory is a process of association of ideas. Not repetition of an idea, but surrounding it with a host of witnesses gives it permanency in the mind. To a greater extent than can possibly be estimated does this associative quality of memory hold in the case of children. We wish to teach a kindergarten child that a certain type of flower is known as a rose. We do not repeat to him over and over again, or ask him to repeat to us, in order to fix this fact in his mind—“This is a rose. This is a rose.” Instead, we ask him to smell of the flower, note its color, the shape of its petals, its peculiar, thorny stem, its leaves. We help the child to draw a picture of a rose. We ask him to show us all the roses he can find as we take him to walk in the garden. Then, when the child has the flower’s color, odor, feeling, form and garden environment as a crowd of mind witnesses to prove its individuality, we say “This is a rose,” and the child is very apt to remember the flower. A well-constructed child’s story has the associative quality that characterizes the mental process of memorizing. It has one central theme; an act of heroism, a nature fact, a bit of natural history, a note of the fantastic or the humorous and around this central theme are grouped the story associates; the dialogue, the description, the sensory elements, the surprise of the climax, all of which fix indelibly in the mind this central theme around which the story is written. Every well told story means an added possibility of a recall in the child’s mind and strengthens the general process of memory. Laura Richards’ story of “The Pig Brother” illustrates the type of story for which the story teller should search in order to train a child’s memory. The theme of the story, the idea that is to be made a fixture in the child’s mind, is that of the value of cleanliness, and order in life. The treatment of the theme is constructive, a process of building up scenes and blocking out unessentials to strengthen and make permanent the theme in the child’s mind. “There was once a child who was untidy,” the story begins. With no wasting of time over details the child who hears the story is introduced to the theme. There follows a bit of description explaining the kind of untidiness of the little story hero, how he left his toys and boots scattered about his play-room, spilled ink and covered his pinafore with jam. Then the child is confronted by the Tidy Angel who tells him to go out in the garden and play with his brother while she puts his nursery back into its former state of orderliness. The child goes out to the garden but he is in a condition of wonder in regard to this brother whom he is to seek. He meets a squirrel in the garden path, and he asks it if it is his brother, but the squirrel denies all relationship to the child because of his untidiness. Then the child meets a wren, and asks it the same question, which the bird also indignantly denies because of the child’s untidy appearance. The child then interrogates the Tommy Cat who scorns all thought of relationship to him, telling him to go and look at himself in a mirror. The climax of the story is found when the child meets a pig who promptly claims relationship with him and causes the child to go back to his play-room resolved to be tidy and orderly in the future. The story has a memory value for children because it presents one idea with a number of related associates. The story theme of the unpleasant results of being untidy is never lost sight of, but is presented over and over again in a series of related scenes so differentiated, however, by their contrast as to make them permanent in the child’s mind. We may take these different scenes in the order in which the author presents them, discovering that each forms a stone in the whole structure, differing in their value but all taking form and color from one theme. Scene 1. The child hero is banished from his play-room and his toys as a result of his own acts. Scene 2. The child finds that he has no part in the outside world of little wild creatures, also because of his untidy habits. Scene 3. For the same self-inflicted reason, he is disowned by his friends, the birds. Scene 4. His house friend, the cat, disowns him because his habits of personal cleanliness do not accord with her standards. Scene 5. The child finds the natural consequence of his untidiness in his welcome by the despised pig which brings about his resolve to be clean and orderly, hereafter. Each story scene, as shown in this analysis is carefully planned, having in mind a grouping of associated ideas that will strengthen and vivify the image made on the child’s mind by the story theme. As a result the child who has heard the story of “The Pig Brother” has gained a store of associated ideas that will be recalled when some one asks him to pick up his toys or use care in eating. He will remember that squirrels and birds are orderly in their nest making, that his cat uses care in regard to her person, that there is a big, unseen force at work in the world that makes for order—whether one calls it an Angel, or not, it really exists—and he remembers that a disregard of this law of order means disaster to the law breaker. The child of the story escaped from the Pig. He may not be so fortunate if he breaks the law. So our real child turns over and examines and sorts and weighs his mental associates of the concept untidiness, and makes his own decision in the negative in a way that would not have been possible without the carefully associated scenes of the story. This may seem an over fine analysis of one story but it will help us in judging other child stories having a regard to their memory value for the child. Almost, if not more important a consideration than the writing of a drama, is the matter of the stage “business” in its successful production. The manager must decide which movements of his actors, which exits and entrances, which stage arrangement, lighting and what scheme of costuming will strengthen the salient idea underlying the plot of the drama and make it a memory in the minds of the audience. Stage “business” is a matter of psychology. It means that the stage manager, the playwright or whoever knows the audience best is going to plan a mechanical background, a hedge, a wall, of associates that will make the audience remember the play. A good story should have “business,” the necessary costuming and lighting. How shall the story teller apply this memory test in her selection of stories? How shall she be able to say with authority: “My children will not forget this story!” In the first place we should assure ourselves to our complete satisfaction in selecting a story that it has a theme, a motif upon which we can build the chords of a complete melody. It is doubtful if the story of “The Greedy Cat” has a sufficient theme to make it of value as a memory story, although it has a very real place in the child’s life as a relaxing bit of nonsense. “The Little Pine Tree That Wished New Leaves” has a well defined theme—that of contentment. The second question that we will ask ourselves will be, is this story theme a worth while one for us to give the children as a permanent part of their mental lives? We would hardly wish a child to remember always about the greed of the gormandizing cat. We would be glad to have him hang up in his mind house a picture of content as illustrated by the little green tree that discovered his own leaves to be better than any others. Last, we will ask, is the story theme so compellingly associated with other ideas that it will become a memory for the child? In the case of the story of the Little Pine Tree, this treatment is carefully adhered to. Never is the leaf idea lost. Instead, the idea is presented in the form of gold leaves, leaves of glass, in fact all the strange and different leaves for which the discontented tree wished. But the gold leaves are stolen by a miser; the glass leaves are broken in a storm, and its juicy large leaves are all eaten by a goat. The climax is reached when the little tree is glad to have back its slender green needles; and the story is fixed in a child’s mind because of its associative treatment. This memory training by means of story telling is a legitimate “short cut” in teaching. The nature fact, that difficult bit of geography, that fine point of ethics may all be given a permanent place in the child’s mind if we can find just the right story to help in fixing them. The list of stories that follows at the end of this chapter was selected having in mind in the case of each story, its associative treatment of one theme worth while as a memory for the child. Hans Andersen’s story of Little Tuk is a brilliant example of using associated ideas to set the memory gem of the plot. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Bailey, Carolyn Sherwin. 2018. For the Story Teller: Story Telling and Stories to Tell. Urbana, Illinois: Project Gutenberg. Retrieved April 2022 from https://www.gutenberg.org/files/58107/58107-h/58107-h.htm#Page_105 This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html .

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